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Intersectionality feminist essay
Feminism and art essay
Intersectional feminism essay
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Upon visiting the ‘’Roots of the Dinner Party,’’ at the Brooklyn Museum, I was enticed by this specific exhibition because I consider myself a feminist. Depending on who you speak to, everyone has their own opinion over Judy Chicago’s vision and work of art she beautifully created. When I arrived at the exhibition, I was blown away by the detail creating The Dinner Party. As i looked around exhibit, a singular plate that was encapsulated in a glass box struck out to me. It was painted with pastel colors ranging from pink, green, and blue. It’s light pink color alluded to the concept of how pink is often associated with women, but the green and blue reminded me of earth and how both of our existences are connected as one. Next to this plate …show more content…
Many feel that this reduces women to their biological anatomy and specifically excludes trans-women who aren’t born with the genitalia associated with the gender they identify with. Although nothing is perfect, I can wholeheartedly understand why trans-women feel as if they are excluded from this art work that is suppose to represent the inclusion of all women. Then it dawned on me as I saw a list and pictures of the women that were included at The Dinner Party and most of the women were in fact white women. The lack of representation across women of all different races was disappointing because they’re are many women of color whose contribution to the equality of women, is not only not taught as often as it should be in American school systems, but often unheard of as well.When talking about feminism, it’s important to self-check that feminism must be intersectional and extend to the equality and liberation of ALL women no matter race, economic status, religion, sexual orientation, and such. Women of color might not endure sexism the same way a white woman would, not to mention women of color are simultaneously facing racism as well. However, I still thought the incorporation of the triangle table was a great way to translate how women must all be united together in the fight for equality because if one wins, we all
The worst essay from this semester is Magical Dinners by Chang-rae Lee. Why even have this atrocity on the syllabus? Magical Dinners is very blandly written (almost as bland as the food his family makes). This was made obvious by the fact that nobody in our class was into it and there was silence during the whole discussion instead of lots of participation. Furthermore, the only rhetoric I could find Lee even attempting to use was code grooming, which was highly unsuccessful because the meals that his mom made did not sound good and were unable to grab my attention or appetite. This is illustrated when Lee writes “She cooks an egg for me each morning without fail. I might also have with it fried Spam or cereal or a slice of American cheese,
From classroom to a cocktail party, having knowledge in today’s economics is definitely an asset when it comes surviving in the world of business. Cocktail Party Economics, by Eveline Adomait, and Richard Maranta undeniably satisfies as an economic training book, helping you understand the concepts of basic economics. The book brings to light many theories and thoughts, which are explained in a certain way that help readers easily, compare and relate them to each other. During the first couple chapters of the book, the main theories presented are scarcity, value, opportunity cost, production, and absolute/comparative advantage. Believe it or not, all of these theories are relatable to Supply and Demand; the two concepts introduced in chapters six and seven.
Racial relations vary across culture and time, even after the decision that deemed anti-miscegenation laws unconstitutional, it took more time for everyone to come to the same agreement. Not to mention, the conditions that black people lived under due to the negative connotations that the term “black” held – evil, dirty, and impure. Towards the end of the 1960’s, the American industry utilized many different tactics to portray the lack of hope, income inequality, segregation, and change that was an attempt to make a difference during this time. The film, Guess Who’s Coming to Dinner (1967) was a direct effort to view the polarity of race in the 1960’s through the lens of
Lynn Peril writes a fascinating study of pink color and its historical connection to ideas and beliefs of femininity. Peril translates and defines Pink Think as collection of specific ideas, beliefs, and approaches of how and when is feminine behavior considered as proper. Throughout her book, Peril is pointing out various fundamental approaches and attitudes that are considered to be crucial for women achievements and accomplishments. Peril's Pink Think also advocates how greatest concern of femininity is related to women physical appearance (fashion and beauty) and their marriage (motherhood and housekeeper). Furthermore, Peril is demonstrating an evolution of femininity, and constant and intense impact of its norms and rules on women lives.
Gilbert, Sandra M. and Susan Gubar. “A Feminist Reading of ‘The Yellow Wallpaper’.” The Story and Its Writer. Ann Charters. Boston: Bedford/St. Martin’s, 2011. Print.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Trimalchio hosts’ a farewell dinner which is a dinner given to gladiators who were about to face wild beasts in the arena. Trimalchio is a Semitic name based on the word for “prince” and he is a high living individual. However, a well-born Roman reader would not approve of his attitudes and behavior. You get a good sense of what Trimalchio is like early on in the story when he is in the middle of talking to Menelaus and snaps his fingers for a slave to bring him a pot. When the slave brings the pot to Trimalchio he peed in it, asked for water and then used the slave’s hair to dry his hands. (19) Trimalchio had many slaves, some of their jobs were miniscule(petty) that it consisted of them standing near the dining room door and saying “right feet first!” as people enter. Not only do his slaves have (silly) jobs, they are repremended for the littlest of things. When a slave dropped a cup by mistake at dinner Trimalchio responded by saying “go kill yourself, you useless piece of trash.” (37) A well-born Roman wouldn’t appreciate how Trimalchio treats people, it is puzzling he treats them so poorly since he was once a slave himself.
Jackson, P. (1992). (in)Forming the Visual: (re)Presenting Women of African Descent. International Review of African American Art. 14 (3), 31-7.
Whitney Chadwick, Women, Art, and Society 3rd ed. (NY: Thames & Hudson world of art, 2002), 153-160.
The setting of Charlotte Perkins Gilman’s story “The Yellow Wallpaper” is crucial to the reader’s understanding of the narrator 's experiences. Even though the narrator is aware of some illness affecting her, she instinctively insists is caused from lack of artistic expression, but other outstanding factors are portrayed through Gilman’s writing which contribute to the psychosis of our narrator. To consider these aspects Susan , author of “The Feminist Criticism, ‘The Yellow Wallpaper,’ and the Politics of Color in America,” criticizes the degree where Gilman’s story transforms contemporary feminism and social practices.
Lanser, Susan S. "Feminist Criticism, 'The Yellow Wallpaper' and the Politics of Color in America." Gale Virtual Reference Library. N.p., 1989. Web. 23 Apr. 2014.
Golden, Catherine, ed. The Captive Imagination: A Casebook on "The Yellow Wallpaper." New York: Feminist Press, 1992
Gilman, Charlotte Perkins. "The Yellow Wallpaper." Images of Woman in American Popular Culture. Ed. Angela G. Dorenkamp, et al. Port Worth: Harcourt Brace, 1995. 78-89.
“Yellow Wallpaper” by Charlotte Gilman was analyzed by many perspective readers and writers. In my research paper I analyzed work by Ann Oakley and Karen Ford. These two authors had similar but yet different arguments. During my review process on both articles, I found that there can be many interpretations of any literary work. When you typically see topics written about women, you tend to see biased explanations. Reading these from a female standpoint you would go on to assume the writer will only defend what is morally right.
In the 19th century society was from different from what it is today. Women were not in the workforce, could not vote, or even have a say in anything. Women were not permitted to give evidence in court, nor, did they have the right to speak in public before an audience. When a woman married, her husband legally owned all she had (including her earnings, her clothes and jewelry, and her children). If he died, she was entitled to only a third of her husband’s estate. Charlotte Perkins Gilman wanted to change this. She wanted people to understand the plight of women in the 19th century. In her short story The Yellow Wallpaper she tries to convey this to the reader not just on a literal level, but through various symbols in the story. In The Yellow Wallpaper the author uses symbols to show restrictions on women, lack of public interaction, the struggle for equality, and the possibilities of the female sex during the 1800s.